 
IN CIRCLES
Press Page - Click Here
"BLISSFULLY LOVELY! ... Is there a more enchanting musical in
New York right now than In Circles? My guess is, probably not: if you
crave simplicity and beauty and can do without narrative or convention, then
Kaliyuga Arts' revival of this rare jewel of a show is for you ... The genius of
this show is how composer/creator/musical arranger Al Carmines found, inside
Stein's spare but dense poetry, a vibrant and gorgeous celebration of the
moment-to-moment pleasures and enervations of life. Paired with his melodies
that sometimes sparkle and sometimes soar, and presented here elegantly by
director John Sowle and a truly accomplished ensemble, the piece charms and
amuses and teases and - catching us by surprise - moves us deeply. Recall that
Stein wrote a book called Everybody's Autobiography: should we wonder
that with Carmines she can create for us something as ephemeral and fundamental
as Our Town? ... Kaliyuga Arts is presenting In Circles at Judson
Memorial Church, where Carmines first staged it more than 40 years ago. It will
only be there one week more, which is very sad, because it's the kind of show I
can imagine wanting to see many times - to be reminded, as we must, how fleeting
is...everything."
Martin Denton,
nytheatre.com (click for a link to the full review)
"BACKSTAGE PICK! ... Can it be 41 years
since In Circles first appeared? The 1967 musical that composer Al
Carmines fashioned from Gertrude Stein's 1920 A Circular Play remains a
joyous, still relevant affair ... Even before the evening's official start,
Stein and partner Alice B. Toklas - here respectively called Mildred and Mabel -
greet the audience and pass out brownies (presumably not made according to
Stein's famous marijuana-laced recipe). That party atmosphere is maintained
throughout as circles of friendship, love, sex, bliss, and loss are formed."
David A Rosenberg,
Backstage
(click for a link to the full review)
Slideshow
"Nonlinear structure is a hallmark of
avant-garde theatre, yet there has probably never been a production that
celebrates the nonlinear like - at the risk of sounding redundant - In
Circles ... Al Carmines' lively musical arrangement of the text is a
stunning achievement that earned him a 1968 Obie for Best Musical and helped
usher in the experimental style that found a home in early Off-Off-Broadway.
Such experimentation is no longer as revolutionary as it was in the 20s or 60s,
and much of the production feels like something from another era. Interestingly,
that's not a bad thing for the piece. In the dedicated hands of director John
Sowle, what might otherwise come across as dated instead enhances the play's
other-worldly ambience. That ambience is strongly supported by Mike Floyd's
delightful 1920s-esque costumes and Joe Novak's arrestingly beautiful light
design ... The ensemble is both playful and polished, a remarkable
accomplishment given the apparent lack of specificity written into each role.
Stein's text lists no characters and contains no real dialogue; In Circles
assigns lines to an ensemble of ten, with characters loosely influenced by
Gertrude Stein and her circle of friends from the years surrounding WWI. It's an
inspired choice. The onstage manifestation of how Stein perceived her world is a
pleasure to watch ... Sense of community pervades In Circles, from the
performers' unified enthusiasm in executing Jack Dyville's dizzying choreography
to the delight they take in one another's singing. Even at the play's least
comprehensible moments, the warmth of the performers and their dedication to the
material should keep audiences not just at ease but enraptured ... In Circles
oscillates between the inspired exuberance and the melancholic desperation
associated with both the Lost Generation of the 1920s and the activists of the
1960s. Anyone nostalgic for such a time - and anyone seeking a powerful
theatrical experience - would do well to see In Circles."
Li Cornfeld,
offoffonline.com
(click for a link to the full review)
"Like a Sufi, the Steiny Road Poet is
spinning with ecstatic energy. On February 12, 2008, she attended the opening
night of Kaliyuga Arts' and John Sowle's new production of In Circles, Al
Carmines' musical setting of Gertrude Stein's A Circular Play ...
Carmines would have been pleased to see how this crowd brought so much new
excitement to his celebration of Stein ... In Circles is a kitchen-sink
musical offering everything from klezmer to ballroom tunes. Another thing Sowle
has added to this production is a dizzying procession of dance numbers that
include such forms as tango, waltz, can-can, charleston, cakewalk, Black Bottom,
soft-shoe, folkish circle dancing with grapevine steps ... Like a stone cast in
water, Sowle and his talented players made In Circles a rich evening of
Steinian theater that the Steiny Road Poet will continue to receive insight
from. In the meantime, as she continues to spin with excitement, she knows
better how to travel in the presence of the Divine. Hats off to Al Carmines!"
Karren Alenier,
Scene 4 Magazine
(click for a link to the full review)
"At a performance of this fantastic
revival of one of Carmines' own signature works In Circles, an actor
served me a brownie and engaged me in conversation. Despite being about the
supreme 20th Century wordsmith Gertrude Stein and her lover, this was not an
Alice B. Toklas brownie, so no pot buzz, darn it. Still it was delicious, and
anyway, I didn't need marijuana or any other hallucinogenic to take me on a head
trip. This psychedelic, weird-but-wonderful show gave me a contact high. First
off, let me state outright: I'm not a Broadway show queen. As soon as I hear the
orchestra breaking into song, I want to lurch for the exit. But In Circles
helped to reaffirm my faith in the genre. The synergy among the ensemble
totally put across the work's inherent scintillating wit and touching
eccentricity ... This 1968 show, now playing for a short run back where it
debuted at the Judson Memorial Church on Washington Square Park, is a gem. Catch
it, please, because only Heaven (where Rev. Al is surely smiling down on this
top-notch revival) knows when it will return to this sphere ... The songs nearly
brought this jaded listener to tears several times ... This production is a
dream come true. One of your weirdest, most powerful dreams. This production of
In Circles left me humming, thinking, and feeling that I'd just
experienced something remarkable and important."
Steven Sparling,
The Edge New York
(click for a link to the full review)
"BET #1 - HURRY THIS WINDOW
CLOSES SOON. IN CIRCLES, A STEINIAN MUSICAL
Normally the Dresser would give full attention to anything having to with
Gertrude Stein and she will as the Steiny Road Poet in her March column of
The Steiny Road to Operadom in Scene 4 Magazine, but In
Circles, in a new production by Director John Sowle, will close February
22, 2008, and the show deserves attention immediately so you, Dear Reader, will
know what an exciting and historic opportunity this show presents ... If you have been
curious about the work of Gertrude Stein, this would be the show to see because
Sowle's interpretation threads discernable stories and puts Gertrude Stein and
her partner Alice B. Toklas into the spotlight. Based on Stein's A Circular
Play: A Play in Circles, which she wrote in 1920, In Circles is a
nearly word-for-word rendering of Stein's play that has no character assignments
or stage directions. Although they do not follow a linear narrative, the play
and musical offer cubist cuts of human dramas about loss (a young man is killed
in a war), an adoption of a child, several love stories, and the daily-ness of
everyday, including eating, arguing, chopping wood, and even blowing one's nose.
The human drama is sadly touching, comically endearing, and made intimate from
the moment the players enter the staging arena and begin greeting the audience
... Zany and joyful!"
Karren LaLonde Alenier,
The Dressing
(click for a link to the full review)
"In Circles should
stay around ... I went to three musicals this week and I enjoyed them all. But
please, don't summon the men in the white coats just yet; my reasons are easy to
explain: In all three shows, something of importance to the creators has been
fully articulated according to their own lights. As a result, all three
entertain people like me—and give us an inkling of that importance—without going
through all the hard-sell calculations that make big commercial musicals so
annoying these days. Importance is a relative concept: The key is never how
"serious" the material is, but how fully it engages the artists involved. The
beauty of both Adding Machine and Passing Strange is that they
feel complete. When you leave, you've gotten everything the creators had to tell
you about this story. The all-too-brief revival of In Circles, a 1967
work, made a happy reminder that this sense of completeness has always been the
musical's goal ... In 1967, In Circles was an extraordinarily
light-hearted event, one of the earliest triumphs in the magical collaboration
of minister-composer Al Carmines and director Lawrence Kornfeld on Gertrude
Stein's allegedly intractable plays. In Circles, written in 1920, is
steeped in post–World War I atmosphere; for all its lightness, it rang with
eerie resonance in those Vietnam days. Ours is a darker wartime, and John
Sowle's revival at Judson, for Kaliyuga Arts, reflected that deeper darkness in
its staging. Fortunately, Sowles' cast boasted many first rate singers,
particularly the sopranos, so that Carmines' enchanting music kept rescuing the
situation with its plangent melodies and deliciously unexpected turns of phrase. A little Stein and Carmines every month might cure all kinds of contemporary
ills."
Michael Feingold, Village Voice
"In
Circles is a marvelous piece of musical
theater, full of entertainment and surprises, sentiment, humor, enterprising in
the extreme in its musical mix of high art, klezmer, soft-shoe and show-tune.
And quite faithful to Stein ... The way to read Stein is to hear Stein,
and In Circles makes her audible, and thus provides a marvelous
introduction. More than an introduction, though; In Circles is also an
enlargement of Stein's original play. Carmines expands it to a full-evening
production, weaving, yes, circles around Stein's motifs, lifting a once-only
chance remark — Mrs de Monzy has adopted a child — into a full-out
production number; or assigning lines to one or another of the four boys and
four girls in the cast ("boys" and "girls" in the theatrical sense) and
returning to them, re-investigating them in new contexts and ensembles, and thus
revealing new depth and meaning. The result is Cubism, the isolation and
consideration of various apparently different aspects of a given event (phrase,
character, face) in a manner to enlarge its meanings. This is criticism at its
best. So many of the best examples of Criticism are, in fact, works of art
themselves, and Theater is the public location of this par excellence."
Charles Shere, The Eastside View
"The divine
diva of high modernist literature is mostly
known for her challenge, deconstruction, and
all-out demolition of English syntax (see:
The Making of Americans); but
rarely is the jaunty, even fun side of her
diction and rhythms remarked upon much.
Nowhere is this more apparent than in
Kaliyuga
Arts’ presentation of
In
Circles at the
Judson
Church. The
hour-and-fifteen-minute piece is charming
from the get-go, with a representative
Gertrude and Alice-type couple emerging to
greet the audience, as though we’re perhaps
part of one of the famous Paris salons.
'So many new
friends,' Gertrude beams,
'How
wonderful!' One almost expects her to
give out homemade cookies (which,
incidentally, does occur later). Filled
with dance, amazing vocal performances by
the cast, and wonderful 1920s-era costumes by
Mike Floyd,
it’s easy to be taken away by In Circles
... How often can I make the
recommendation that this would be a
wonderful piece to introduce children to
cubistic literature?"
Steven Luber, Obscene Jester
"Astonishing ...
Strange, funny, and profoundly moving. And
the music is just stunning - very simple,
catchy on the surface, resonant and rich in
its repetition. Like Stein's words, but
without any whiff of artiness or 'high'
music ... It only has four more shows. If at
all possible, go see it."
David Johnston,
Theatre, Culture, Politics & Stuff I Like
(click for a link to the full review)
"The exuberance of
Stein’s words and Carmines’ music is a
restorative and joyful experience. I have
written two essays about the production,
which was lovingly and intelligently
directed by John Sowle of Kaliyuga Arts. One
of these two essays is currently posted on
my arts blog
The Dressing and
the other will appear in my Steiny Road to
Operadom column in the March edition of
Scene4
Magazine.
The play deserves as much promotion as it
can get before it closes February 22, 2008."
Karren Alenier, alenier.blogspot.com
"IN
CIRCLES:
This revival of the rarely-seen musical by
Al Carmines and Gertrude Stein is a beautiful celebration of the
everyday moments of living. The staging by John Sowle and the ten-member
cast is glorious. PICK OF THE WEEK!"
nytheatre.com
Kaliyuga Arts was thrilled to bring In Circles, a seminal work from the early
days of off-off-Broadway, back to Judson Memorial Church where it
originally premiered in 1967. The fractured, evocative text of Gertrude Stein’s 1920 A
Circular Play is set spinning to Al Carmines' wildly eclectic, disgracefully
tuneful score in this 1968 Obie-Award-winning musical masterpiece.
In Circles was Kaliyuga Arts’ third New York production
following its successful staging of Samuel Beckett’s
All That Fall and
its Innovative Theatre Award-nominated presentation of Dan
Carbone’s Kingdom of Not, both at the
Cherry Lane Theatre. It was also Kaliyuga’s second
production of In Circles, which it presented to critical acclaim
in Los Angeles in 1986, winning five Drama-Logue awards.
Hear (and download) an excerpt from the show (and 5 others) on
NYTHEATRECAST (the voice of nytheatre.com) Episode #191
http://www.nytheatrecast.com
"In Circles is a beautiful recapturing of that
time early in the 20th century when art seemed to be a Paris of the
mind where all sensitive spirits could live in a universal communion of form,
wit, and feeling. A madly meaningful tea party which composer Al Carmines has
turned into a gemlike operetta."
Jack Kroll,
Newsweek Magazine
"Al Carmines and Gertrude Stein have, between them,
brought the element of pure delight back to the theatre."
Edith Oliver,
New Yorker Magazine
"Great fun! One of the most delightful shows
in New York."
Dan Sullivan,
New York Times
"Hypnotic, charming, and blissful! Mr. Carmines
must eat music in the morning instead of breakfast cereal, rather as Gertrude
Stein once must have eaten words. His music is arrogantly eclectic,
disgracefully tuneful, and just right for the purpose."
Clive Barnes,
New York Times
"Any attempt to interpret or pin down this enchanting
excursion into the iridescent, fantastical world of Gertrude Stein would be to
put a butterfly in a cage. In Circles is not to be explained, it is to be
experienced and enjoyed."
Polly Warfield,
Drama-Logue
"Rich, scintillatingly harmonic and deftly haunting."
Robert Koehler,
Los Angeles Times
"Seductively enchanting ... as though Kurt Weill had
collaborated with Apollinaire."
Steven Mikulan,
L.A. Weekly
"In Circles is definitely a play to be
experienced ... A memorable night of theatre."
Lynne Lee,
The News
"A poetic pleasure of a play and something rare: a
work of true originality."
Richard Labonte,
Update
"It's funny, it's incomprehensible, it's beautiful,
it's harsh, but it is, most of all, thoroughly engrossing and entertaining .. A
vitality filled evening that cannot help leaving a profound imprint on the
audience."
Nancy Illo,
Daily Titan
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PAUL BOESING (William),
during a span of fifty years in the theater, has done nearly
everything. In New York City in the early sixties, he was a member
of Joe Chaikin's Open Theater Workshop. He moved to Minneapolis in
1965 to join the Firehouse Theater, where he was a leading member of
the ensemble. In 1968, he was an original member of Peter Brook's
International Workshop in Paris and London. In Minneapolis, he met
his former wife, Martha, and they created many songs and
music-dramas together. Paul's acting career has taken him to many
regional theater centers, including St. Paul, St. Louis, Milwaukee
and Madison. As a singing actor, he played many leading roles in
the oldest and largest dinner theatre in the country at Chanhassen,
MN. Paul has appeared in several seasons of The Nebraska Shakespeare
Festival, playing Polonius in HAMLET, among other roles. Next summer
he will play King Lear. As a composer, Paul has written hundreds of
songs, and many works for the theater, from musical comedy to opera.
He has written several scores for The Nebraska Shakespeare
Festival. He set a Gertrude Stein play (Photograph) to music
which was very influenced by Al Carmines. For Madison Repertory
Theater, he created a score for live glass instruments, performed by
world- renowned glass harmonica player, Dennis James. Paul created a
song/dance/theater piece for Tom Bogdan ( who has sung with Meredith
Monk's ensemble) using the poems of W.H. Auden. The premiere was
presented in New York City in Februrary 1999. Last fall, his
Wachsenden Ringen, a song cycle for mezzo-soprano and chamber
ensemble set to the poetry of Rainer Maria Rilke, was premiered in
Omaha. |
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SARAH
FERRO (Jessie) takes the stage with extreme
gratitude to John Sowle for bringing this piece to life, and giving
her this great opportunity. Ms. Ferro has been a performer
ever since she got her start in Army Community Theater as a military
brat at the age of 5 with roles such as Helen Keller in The
Miracle Worker, Pepper in Annie, and Maria in The
Sound of Music. Upon completing a degree in music and theater
from the University of Miami, Sarah has been the lead singer
on board cruise ships, cabaret venues and various regional theaters.
Favorite productions include Berlin To Broadway: The Music of
Kurt Weill, Batboy: The Musical, Harry Chapin's America
and Come Fly With Me: The Music of Sammy Cahn. Sarah is
currently working on an upcoming one-woman cabaret to be seen early
spring at Rita Mae's in the West Village. Sarah is a proud member of
Actors' Equity Association. |
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MEGHAN HALES (Sylvia)
is ecstatic to be making her NYC debut in this most intriguing
piece! She earned a BFA at the Hartt School. Shortly after
graduation, she went out on the national tour of
My Heart in a Suitcase
as Anne. Some favorite credits include the Beggar Woman in
Sweeney Todd, Milly in
Seven
Brides for Seven Brothers,
I Love You, You're Perfect, Now Change, and
Carousel with Shirley
Jones. She thanks her family for their indefatigable love and
support.
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MICHAEL LAZAR
(Brother) holds a 2006 BFA from NYU’s Tisch School of
the Arts. While his first and foremost passion lies in performing
onstage, he is an aspiring contemporary visual artist and painter as
well, and intends to fully pursue both with the aim of one day being
a strong force in both artistic communities in NYC. National tours:
Mr. Mayor/Wick #1 in Ahrens and Flaherty's Seussical the Musical.
NY theatre: Jackie in Michael John LaChiusa’s Wild Party at
the Culture Project, Ethan in The Full Monty, Shakespeare in
The Jocker, Lucius Andronicus in Titus Andronicus.
Other favorites: Joe Hardy in Damn Yankees, Will Parker in
Oklahoma!, Lysander in A Midsummer Night’s Dream,
Billy Crocker in Damn Yankees! It’s both a pleasure and a
thrill have the opportunity to work with such unique material and
perform with such wonderfully talented people! For my fam. Proud
member of AEA.
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PAUL LINCOLN
(Ollie)
is an active performer and teacher in the New York City area. During
college, as a member of the Harvard Krokodiloes, he made his solo
and conducting debut at Carnegie Hall. Later engagements as a
soloist include the Cairo Opera House, Sydney Opera House, Rome
Festival and an invitation to sing at the Kennedy Center Millennium
Celebrations. Paul has performed in numerous operas and musical
theater productions around the world including the original cast of
the First National tour of Cabaret. Paul helped develop,
music directed and played the part of Euturpe in the world premier
of Lyrical Langston: His Muse for Music. Later, he produced
a successful commercial run of this show in association with the
Lost Nation Theater. Paul teaches and coaches in New York and works
regularly with Tony Award-winning Broadway performers as well as
professional opera singers. He teaches privately and as a Soyulla
Artist. Paul is also a member of the California Bar and volunteers
as a lawyer for environmental organizations. |
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ROBIN MANNING
(Mabel)
is proud to be a part of In Circles, her third musical by the
great Al Carmines.
She also appeared in Christmas Rappings as Mary, and The
Journey of Snow White (dir: Russ Treyz) as the Stepmother/Queen,
also at Judson. Her other credits include the National tour of La
Cage aux Folles (dir. Arthur Laurents), the 15th Anniversary
tour of Annie (dir. Bob Fitch), and regional and stock
productions of The Sound of Music, A Tale of Two Cities
(dir. Richard Sabellico), Teddy and Alice,
Victor/Victoria, Zorba ,and Annie at such theaters
as North Shore, Ogunquit, and the Helen Hayes. Her other NYC credits
include Broadway Blessing '07 (St John the Divine),
Wallenberg (NYMF '06), I Married an Angel (Town Hall), The
Yiddish Trojan Women (ass't dir. to Richard Sabellico at AJT)
and assorted readings and national commercials. She is especially
proud of being a producer of Auntie Mame starring Charles
Busch, a benefit for BCEFA! For Stewie. |
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NOELLE MCGRATH
(Mildred)
A versatile actress and singer with many roles to her credit,
Noelle comes full circle with this production of In Circles,
having been a member of the cast of Kaliyuga Arts' 1986 production
in Los Angeles. Recent credits include Countess Aurelia in The
Madwoman of Chaillot Off-Broadway at Theatre Unplugged, the
Gypsy Fortune-teller in Sleepy Hollow at the York Theatre,
and Miss Havisham in Great Expectations at the Mill Mountain
Theatre in Virginia. Noelle can be seen in March at the Laurie
Beechman Theatre at the West Bank Cafe in Theatre Row performing her
cabaret act, Noelle McGrath Entertains! Ms. McGrath coaches
young people in acting and voice and is the mother of three budding
performers, Lily, Juliet and Colin. |
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STEVEN PATTERSON
(George)
has appeared Off
Broadway (in his own Genet-inspired one-man show Beauty) and
Off-Off Broadway, as well as regionally with such theaters as
the Oregon, Orlando, Utah, Lake Tahoe, and Sierra Shakespeare
Festivals, South Coast Repertory, TheatreWorks (Palo Alto), American
Musical Theatre of San Jose, 42nd Street Moon, Chenango
River Theatre, the Lexington Conservatory Theatre, and, most
frequently, with Kaliyuga Arts. Recent roles have included Austin
Wiggin in The Shaggs: Philosophy of the World, Mr.
Barrell in Beckett’s All That Fall, Owen Musser in The
Foreigner, Homais in a musical version of Flaubert’s
Madame Bovary, Cassius in Julius Caesar, Kent in King
Lear, and two solo shows: Jim Helsinger’s Frankenstein: the
Modern Prometheus and Gareth Armstrong’s Shylock.
On film, Steven has appeared as Bruce in Joseph Graham's Vanilla
and in Bill Rose's documentary The Loss of Nameless Things. |
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MAUREEN TAYLOR (Lucy)
is thrilled to be participating with all the
wonderful talents of the In Circles community! Performing has
been a fabulous journey for her. First stop: OPERA - All over -
including a fabulous chapter in Italy with Renata Tebaldi. Next
stop: SWITZERLAND - thrilled to perform Madame Giry in Phantom of
the Opera...in German! Next stop: LONDON - Lots of benefits:
Tribute to Jule Styne at the London Palladium, Theatre Royale, the
Bridewell, Heva Castle, Brighton...and a surprise twist: a "New Age"
recording with Tim Wheater - Incantations. Returning to the
states brought lots of regional theatre, soaps, commercials, print
work, and cabaret - most recently at the Eugene O'Neill Cabaret
Conference with Michael Bush, Penny Fuller and Barry Kleinbort. With
joy and gratitude to all the "Guardian Angels" along the way...the
journey continues. |
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ANTHONY WILLS JR. (Dole) recently relocated to New York where he's performed
in Avenue X (Dreamlight Theatre), Talking to Terrorists
(Culture Project), A Season of Miracles (Pushcart Players)
and his own one-man show, The Happiness of Schizophrenia (New
York International Fringe Festival). Regional credits include
seasons at Milwaukee Rep, Utah Shakespearean Festival, Pennsylvania
Centre Stage, and First Stage Children's Theater. In his former home
of Chicago, he's performed with many companies including Dream
Theater, House, Hypocrites, Lookingglass, Northlight, and
Steppenwolf. Memorable roles include Lovin' Al (Working),
Doc Daneeka/Chaplain (Catch-22), Lot (Lot's Wife), and
Bokonon in a staged adaptation of Kurt Vonnegut's Cat's Cradle
which he performed at Lifeline Theater . |
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JOHN SOWLE (Director/Set Design)
has a Ph.D. in Dramatic Art from the University of California at
Berkeley and an S.B. in Mathematics from the MIT. For Off-Broadway
he designed for the Quantum Leap production of Dostoyevsky's
Crime and Punishment at the Harold Clurman Theatre and directed
and designed Steven Patterson’s Beauty at Rattlestick. He has
also directed and/or designed productions for J.B. Enterprises (the
world premieres of Crime and Variations and Mary In The
Hydrangea Bush), Contemporary Opera Marin (U.S. premieres of
Judith Weir's Heaven Ablaze In His Breast and H.K. Gruber's
Gomorra), the UC Berkeley Drama and Music Departments, EXIT
Theatre (1999 Upstage/Downstage Award for his Scenic Design for
Problem Child), Signal Theatre Company (2000 Upstage/Downstage
Award for his Scenic Design for The Years), Teatro Shalom,
The Bare Stage, the Jean Shelton Acting Studio, Theatre
Metamorphosis, One-Act Theatre Company, the People's Theatre
Coalition of San Francisco, the Berkeley Jewish Theatre and Theatre
Rhinoceros. For the EXIT Theatre’s Absurdist Series, John directed
and designed sets for Samuel Beckett's radio play All That Fall,
Robert Montgomery's Subject to Fits, Gertrude Stein's Do
Let Us Go Away. A Play, and the world premiere of Dan Carbone's
Salvador Dali Talks to the Animals. For Kaliyuga Arts John
received three Drama-Logue Awards for his directing and design work
on their Los Angeles productions of In Circles, King of
the Crystal Palace, and Garcia Lorca’s The Public, and in
San Francisco he directed and designed their productions of The
Client and The Secret of the Old Queen (at the New
Conservatory Theatre), Beauty (1994 San Francisco Fringe
Festival and subsequent tours), Poor Super Man (SOMAR
Cultural Center), L'Histoire de Babar (1997 SF Fringe
Festival), PRIDE (EXIT Stage Left), The Pilgrim Project
(2001 SF Fringe Festival), Up From The Ground, and An
Impersonation of Angels or The Enigma of Desire (EXIT on
Taylor), and created and performed a one-person show called
Horripilation! ("Best of the SF Fringe") based on his
experiences in India on a Fulbright Fellowship. For Kaliyuga Arts in
Manhattan he directed and designed Beckett's All That Fall
and the New York premiere of Dan Carbone's Kingdom of Not,
both at the Cherry Lane Theatre. |
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JACK DYVILLE (Choreographer/Production Stage Manager)
is thrilled to be working on his third Kaliyuga
project (All That Fall – Stage Manager/Foley Sound,
Kingdom of Not – Production Assistant; both at the Cherry
Lane). Dyville, a former dancer-actor-singer works now as a
Director-Choreographer-Stage Manager with other NYC credits
including: Off B’way – Movie Buff and DuBarry Was A Lady;
Off-Off B’way – What Makes Sammy Run? and his own written
works Umbrellas in the Snow and The Memory Book at the
Strawberry Festival, The Wonderland Festival and the NY FRINGE.
Dyville has directed/choreographed at Surflight Theatre, Casa Manana,
Allenberry, and Mountain Playhouse to list a few. He is a member of
Ten Grand Productions and is also working with Algonquin Productions
of NYC. |
| MIKE FLOYD (Costume Designer)
Mike’s recent
design credits are All’s Well That Ends Well (Yale Repertory
Theater); Lady (Northlight Theatre, IL) Hedda Gabler;
A Midsummer Night’s Dream; Mirror, Mirror by Sarah
Treem (Yale School of Drama); Hedda Gabler, MacBeth,
The Taming of the Shrew, Twelfth Night (Trinity Rep
Consortium); Little Shop of Horrors; Unnecessary Farce
by Paul Slade Smith; Doubt (Peninsula Players, WI); The
Audition (a film written and directed by Jim Augustine);
Sympathy Jones (NYMF 2007), and The Dumb Waiter (Theater
5, NYC). As an assistant, he has worked with Donna Zakowska (on the
upcoming John Adams on HBO and for Kaos at NYTW), Jane
Greenwood, Suttirat Larlarb, Camille Assaf (on Elmer Gantry,
an Opera that premiered this past fall and was subsequently
remounted this winter), and other artists in New York and
elsewhere. He has worked with the National High School Institute at
Northwestern University repeatedly, designing shows such as
Angels in America, I Am My Own Wife, Polaroid Stories,
and Balm in Gilead. His designs for Amadeus and
Faust were featured in the Prague Quadrennial this past summer.
He holds an MFA in Design from the Yale School of Drama, a BA from
Kenyon College, and also attended the British-American Drama
Academy. Examples of his work can be seen at
www.mikefloyddesign.com. |
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JOE NOVAK (Lighting
Design) Design credits include Off-Broadway: Odds Bodkin’s The
Odyssey (Lincoln Center), Off-Off Broadway: Macbeth
(Another Theatre Company), Midnight (Invisible Theatre
Company), several dance and musical events including Penny-4-Eyes.
Joe has been the lighting supervisor for Glimmerglass Opera, Martha
Graham Dance Company and Aquila Theatre Company. Visit Joe at
www.joenovak.net. |
MICHAEL TEMLIN (Follow Spot)
Michael has been working in theater since childhood. Primarily
an actor/singer, Michael’s New York credits include the role of
God in the original production of The Perfect Daydream, Helmer
in Nora at HB Studio, and his cabaret debut in last year’s
Back in the Swing at Don’t Tell Mama. Bay Area credits include
Hello, Dolly! (Dean Goodman Choice award) and ". . . Forum"
for the Mountain Play, Man of La Mancha at Pacific Alliance,
California Suite at the California Conservatory Theater,
Big
River at AMT San Jose, Sweet Adeline and Dearest Enemy with
42nd Street Moon, three years with Morris Bobrow's hit revue
Party of One (including three tours), City of Angels
(Shellie Award) and Candide with Diablo Light Opera Company,
and Once Upon a Mattress at San Francisco's California Club,
(where he played the wicked queen Aggravaine!). He holds a
degree in theater from Lehigh University.
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All cast members are members of Actors' Equity Association. Jack
Dyville is a member of Actors' Equity and of the Society of Stage Directors
& Choreographers. In Circles is an Equity Approved Showcase
Production.
Judson Memorial Church
55 Washington Square Park South
New York City
Tues Feb 12 thru Friday Feb 22
8:00 pm daily except Sunday, Feb 17
Running Time: 1 hour 20 minutes with no intermission
Kaliyuga Arts, 520 W. 50th St. D4, New York, NY 10019
212.400.7571
Copyright © 1998, Kaliyuga Arts
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